You're Never Alone With A Schizophrenic

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Most Helpful Customer Reviews

When this album came out in 1979 many might have thought that Ian's career was over but this album saw Ian embrace modern technology whilst pairing it with his old fashioned rock'n'roll sound. Just Another Night is a standard rocker designed to be played live with it's singalong outtro - much in the vein of Once Bitten Twice Shy. Wild East also treads familiar ground and sounds a bit like Lounge Lizard from his solo debut. Cleveland Rocks is a showstopper though although compared to the live version on the later release Welcome to the Club it sounds a little tame. Ships sees Ian write his first synthesiser, rather than piano, ballad and When the Daylight Comes is a throwaway pop love song. So far so good - but not quite great. Life after death successfully takes the album by the scruff of the neck and Standing in my Light is the perfect cigarette lighter song. Bastard is probably the best song on the record (but again is outclassed in the live version found on Welcome to the Club). It is really surprising how often Ian can find a riff or a hook that can get under your skin. The album closes with the slightly overwrought Ronson collaboration The Outsider which for my money goes on a little too long.

Verdict? Well it's difficult to say. Hunter has said that he tired of this record quickly when he took it on the road. The album is a bit like a Chinese meal, filling at first but you're still left hungry an hour later. In this respect it resembles Lou Reed's New Sensations or David Bowie's Let's Dance which charted similar territory. I think this is because Hunter's remit with this record seems to have been to write a commercial smash that was radio friendly and would win over a new post-punk audience.Read more ›

After Contractual difficulties were finally sorted and Mick Ronson stopped playing for Bob Dylan long enough to see where he was at, he and Ian Hunter and most of Big Bruce's E street Band put down one of the most complete and satisfying albums of any British artist's career, it feels like the fun of the fair was back in Ians heart on this album, it reminds me both of the legendary album "Mott" in terms of creativity and "The Hoople" in relation to it's sometimes punishing lyrical content and yet because it was recorded with the back-drop of Britain's Punk/new wave explosion there is also an element of Hunter waving the rent book on the songwriting front as he show's that musical ability is no barrier to expressing one's feelings about people who use and abuse and his grumbling at the world in general, this man is the spiritual Godfather of British punk whether he like's it or not,(probably not) and only his later albums "Artful Dodger" and the recent masterpiece "Rant" come close to this record, it's got everything I needed to get from 16 to 17 and there are still a few moments that honestly make me grin with joy...2,3,4 it's the moondog show!

Great mix of Ballads and Rockers with the highlight in my mind The Outsider a haunting number that pulls you in.Ships is the track lamely covered by Barry Manilow,Hunter's unique voice makes this definetly the only version you should listen to.Probably Hunter's finest solo album that with a wider audience would easily become a classic.

Ian Hunter was the voice of Mott the Hoople. But then, you proably knew that. What you probably won't know is that this is an album of terrific songs, played by a man and his band at the very top of their form. From the slightly sentimental, but still beautiful 'Ships', to the dark and rocky 'Bastard', and the superbly bouncy 'Cleveland Rocks', every track is a winner. Great lyrics and arrangements, underpinned by Mick Ronson's superb guitar work. Even if you only like to rock a little, you will love this album.